News / Blog

Singing for Lung Health: Singing Therapy by Stealth!

Thursday 25th June 2026

When we think of singing pedagogy, we often focus on the artistic and athletic demands of the voice-building range, refining tone, and mastering repertoire. But what happens when the very foundation of singing-the breath-is compromised by chronic illness? Dr. Goldenberg has some answers.

 

The Power of the "Quiet Breath"

In vocal pedagogy, we spend most of our time training the large, athletic inhalation required for performance. However, Dr. Goldenberg stresses that for individuals with lung disease, the quiet breath is the most functional breath to practice. * The Problem: Patients dealing with breathlessness often develop an acute fear of running out of air, leading to habitual over-breathing (hyperventilation). This ironically triggers a drop in carbon dioxide levels, causing a phenomenon known as air hunger, which activates the sympathetic nervous system (the fight-or-flight response).

  • The Solution: Training the quiet breath-obligatorily nasal, low, and utilizing only one to two cups of air right in the "middle of the tank"-helps deactivate overworking chest muscles and calms the nervous system.

A Quick Grounding Tool: Hand Breathing

Dr. Goldenberg utilizes a technique called "hand breathing" to slow down the respiratory rate and ground panicky breathers.

How to do it: Hold up your hand and trace your fingers with your opposite index finger. Inhale through your nose only when you hit the knuckle, and exhale completely as you trace down toward your wrist. Repeat for all five fingers to naturally elongate the exhale and allow CO2 to safely stabilize.

 

Obstructive vs. Restrictive Lung Disease

To help the person in front of you, you must understand where the anatomy deviates from normal. Dr. Goldenberg breaks lung disorders down into two primary categories:

Disease Type

Core Characteristic

Common Conditions

Pedagogical Focus

Obstructive

Narrowing of the airways; difficulty getting air out.

COPD, Asthma, Cystic Fibrosis

Emphasize prolonged exhales using fricatives, lip trills, or semi-occluded vocal tract (SOVT) exercises.

Restrictive

Reduction in chest/lung movement; difficulty getting air in.

Pulmonary Fibrosis, Radiation Fibrosis

Emphasize lateral rib cage mobility, full body stretches, and alignment modifications.

 

Singing as "Coughing's Twin" (Airway Clearance)

One of the most profound segments of the lecture focused on mucus clearance. For patients with obstructive diseases, clearing thick secretions from the bronchioles is a constant, exhausting battle.

Because mucus is a non-Newtonian fluid, its viscosity (or thickness) changes under pressure oscillations. Dr. Goldenberg’s own published research highlights that the rapid airflow and subglottic pressure changes inherent to singing actively mirror the mechanics of a cough.

By engaging in structured singing, patients utilize back-pressure to loosen mucus, helping to clear their airways safely and naturally.

 

"Singing Therapy by Stealth"

Pulmonary rehabilitation programs are incredibly effective, yet they suffer from high dropout rates because, put simply, traditional exercise regimes aren't always fun. Enter the choir.

Dr. Goldenberg shares a compelling study by UK researchers Kier Philip and Adam Lewis, which revealed that a well-designed singing session can be metabolically equivalent to treadmill walking at 6 km/h. By structuring a vocal session using a specific framework, singing teachers can offer alternative rehab disguised as artistic joy:

  • Quiet Breath & Gentle Stretches (Deactivating neck/jaw tension)
  • Large Movement & Active Calisthenics (Building critical leg and core strength)
  • Vocalises & SOVTs (Stabilizing vocal fold vibration and encouraging back-pressure)
  • Familiar, Accessible Repertoire (Folk songs, repetitive hymns, or accessible classics with a limited range)

Final Thoughts: Treat the Person, Not the Picture

Whether working with a commercial singer recovering from long-COVID or a neurodiverse student using breath for emotional regulation, Dr. Goldenberg’s guiding principle remains clear: We are in the business of problem-solving. Clinical data or pulmonary test results only tell half the story. As vocal educators, our job is to observe the individual in front of us, figure out exactly where their breathing has deviated from the norm, and use our pedagogical toolkit to restore their function, community, and joy.

 

Want to dive deeper into the intersections of voice science, pedagogy, and vocal health? Explore our upcoming courses and postgraduate offerings at the Voice Study Centre.


Recent Posts

Course Reviews

Demystifying Belting: High-Stakes Vocal Gymnastics for the Modern Vocal Athlete

Voice Study Centre
Friday 14th August 2026

What does it take to belt safely, power through an eight-show week, and adapt to the ever-shifting aesthetic demands of Broadway and the West End? Last night, the Voice Study Centre hosted internationally renowned voice pathologist and co-author of The Vocal Athlete, Dr. Wendy LeBorgne, for a fascinating short course exploring evidence-based belt pedagogy, cross-training, and vocal fitness. Read on for a full recap of the key insights and practical takeaways from the session!

Read More...
Course Reviews

Redefining Ethical Practice in Voice Teaching

Voice Study Centre
Wednesday 12th August 2026

When we think about ethics in voice teaching, our minds often jump to extreme scenarios - policy violations, conflicts of interest, or misconduct. But as Dr. Justin John Moniz (Associate Director of Vocal Performance and Coordinator of Vocal Pedagogy at NYU Steinhardt, and Vocal Arts Faculty at Manhattan School of Music) explained in last night's session, every single voice lesson is filled with subtle ethical decision-making... So what did we learn?

Read More...
Student & Alumni News

Grad Stories: Emily DenBleyker 🎓

Emily DenBleyker
Monday 10th August 2026

One of our recent graduates Emily DenBleyker shares her journey with the Voice Study Centre, where she reflects on how the MA enabled her to pursue her own research interests and develop her practice as a voice teacher by exploring new approaches to supporting adult beginner singers.

Read More...